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Visual Music: Synaesthesia in Art and Music Since 1900 edited by brougher, kerry, olivia mattis, jeremy strick, ari wiseman and judith zilczer

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THOMAS ADAJIAN, Visual Music: Synaesthesia in Art and Music Since 1900 edited by brougher, kerry, olivia mattis, jeremy strick, ari wiseman and judith zilczer , The Journal of Aesthetics and Art Criticism , Volume 64, Issue 4, October 2006, Pages 488–489, https://doi.org/10.1111/j.1540-594X.2006.00226_6.x

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This big (twelve and a half by ten inches) book is based on, but goes beyond, a traveling exhibition that originated at the Hirschorn Museum and Sculpture Gallery in Washington, D.C. and the Museum of Contemporary Art in Los Angeles. The exhibition traced the influence of synaesthesia and musical analogies on the development of visual art since the early twentieth century. The book, correspondingly, provides, among other things, a distinctive take on visual art by focusing on the development of abstraction, understood as a way to “purify painting by applying formal and compositional elements of music to visual arts.” More generally, as one of the authors says, the book discusses the way that the idea of synesthesia serves to “mediate” between music and visual art. It consists of five essays, two by curators at the Hirschorn, two by curators at the Museum of Contemporary Art, and one by a musicologist, “Scriabin to Gershwin: Color Music from a Musical Perspective,” which traces the influence of synesthetic ideas throughout Western music from what appears to be the first instrument to perform color music, the clavecin oculaire , built by the French Jesuit monk Castel around 1740, to the present. It also includes more than 350 illustrations—some well known paintings, some lesser known paintings, some stills from synesthesia inspired films—and a great deal of interesting (art ) historical information. The most substantive pieces are by Jeremy Strick, Judith Zilczer, and Kerry Brougher.

From a philosopher's perspective, the synesthesia influenced works and ideas discussed in Visual Music form a somewhat loose, though not haphazard, collection. Some involve synesthesia directly and some much more indirectly or analogically (for example, the fact that, in nonsynesthetes, color and line can evoke certain sounds, and conversely); the contributing writers are not always scrupulous about drawing these sorts of distinctions. But whatever sense, philosophically, is to be made of synesthesia, the following are all surprising, and family related, facts. (1) A nontrivial number of great painters and musicians have been either synesthetes or explicitly interested in exploring cross modal identities/similarities/analogies in their own medium: Wagner, Kandinsky, Picabia, Kupka, Scriabin, Ciurlionis, Klee, Messiaien, Schoenberg, Mondrian. (2) A nontrivial number of artists and composers have attempted multimedia works inspired by synesthetic ideas: Scriabin, Messiaen, Varese, installation artists such as Jennifer Steinkamp. (3) People have stretched the boundaries of film by attempting nonlinguistic, abstract representations of music: Hans Richter, Viking Eggeling, Oskar Fischinger, Harry Smith, Brakhage, the Whitney brothers. (4) Technically minded people have been interested in synesthetic ideas since at least the 1740s, when the first color organ was developed. This book has many interesting art critical and art historical things to say about (1)–(4).

One might naturally be inclined to wonder—or at least the reviewer was so inclined before reading this book—whether and to what extent explicitly philosophical ideas directly influenced synesthetically inspired artists. Not all that much, as far as I can make out. The main philosophical presence in this history seems to be theosophy, which influenced Kandinsky, the architect Claude Bragdon (an advocate of color music who organized evenings of “Song and Light” in New York City), and the filmmaker and “visual music practitioner” (and so on) Harry Smith. (Bragdon, with the help of a wealthy theosophist, founded the Prometheans, a society dedicated to “promoting light as a medium of expression.” One of the Prometheans was Thomas Wilfred, who designed an instrument for light projection he called the “clavilux.” In 1930, Scientific American published a photo of him seated in front of the home model of the clavilux, which seems not to have been a huge success. Wilfred was not obviously a crank: he collaborated with Leopold Stokowski, and in 1948 published an article, “Light and the Artist,” in The Journal of Aesthetics and Art Criticism .) Theosophical ideas also get mentioned in Brougher's essay, “Visual Music Culture,” which emphasizes the way that synesthesia inspired art and music passed over into popular culture. Brougher traces the history of people who, by painting or otherwise modifying conventional celluloid, attempted to fuse film and painting: Arnaldo Ginna, Bruno Corra, Hans Richter, Viking Eggeling, Oskar Fischinger, Hy Hirsh, Stan Brakhage. Brougher also traces the stream of visual music culture that tried to exploit a more direct connection between sound and nonsound by technical means, focusing in particular on the machines of John and James Whitney, in which pendulums of “differing lengths fitted with adjustable weights were attached by a wire to an aperture in the camera which recorded their movements.” The Whitney brothers, interested both in “Eastern metaphysics” and in innovative technology, used this system to create a four octave range of electronically produced tones. (One of the strengths of this book is that it whets the reader's appetite for more: the stills from James Whitney's 1963–1966 film Lapis , which Brougher calls “one of the most convincing nonobjective works in the history of modern art,” certainly make one want to see it.) Finally, a theosophical treatise entitled Thought Forms is quoted in Mattis's essay “Scriabin to Gershwin,” which traces color music up through the “New Age composer” Kay Gardner; so the theosophy/synesthesia connection is not merely adventitious.

Synesthesia is puzzling in lots of ways. It is not shocking, accordingly, that Visual Music contains a number of statements that will puzzle people, like philosophers, who tend to be easily puzzled. Some examples: “Synesthestic experience inheres to the experiencing subject” (p. 20); Arthur Dove in his 1929 painting Fog Horns “went beyond analogy or musical transcription to fuse the auditory and visual senses.” (p. 62); filmmakers such as Fischinger, Hirsh, and Smith recognized that “with the right stimuli, the most potent form of syesthesia could occur on a personal level, right inside your head” (p. 120); Lero Villareal's installation Lightscape “causes a dislocation of perspective and spatial relationships in the viewer that transcends two dimensions” (p. 190).

Still, given the strangeness of the phenomena it focuses on, it would be inappropriate to fault Visual Music too much for this sort of thing. Readers will get a lot of art historical and aesthetic stimulation and nourishment from this book. Readers of this journal who are mainly interested in synesthesia from a nonpsychologistic perspective or from a meta philosophical perspective that sees aesthetics as in some way subordinate to the philosophy and metaphysics of mind will not have their philosophical thirsts quenched. But the book does not aim to do so. It would be nice to see more people working in aesthetics thinking hard about synesthesia, and any such thinking should be informed by the history that this book ably and interestingly discusses.

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Home > USC Columbia > Music, School of > Music Theses and Dissertations

Music Theses and Dissertations

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Visual Sheet Music Analytics - PhD Thesis - 2023/2024

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Date created: 2023-12-03 08:40 PM | Last Updated: 2023-12-09 08:41 PM

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Description: Additional material and appendices for the PhD thesis presented by Matthias Miller in 2023/2024

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This repository contains additional resources regarding the Ph.D. thesis titled "Visual Sheet Music Analytics" submitted by Matthias Miller at Data Analysis and Visualization Group at the University of Konstanz at the end of 2023.

The Visual Musicology Graph was used for categorizing research projects at the intersection of Musicology and Information Visualization.

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Master of Music in Composition—Thesis

Master of music in composition and computer music composition—thesis.

MM students in Composition and Computer Music Composition write an original composition as a thesis.  Students should submit the Program Completion Application no later than the beginning of the semester in which they plan to graduate. ( Graduation information )

Step 1: Compose the Thesis

Write the thesis and program notes in consultation with your teacher and in accordance with these formatting guidelines .

For computer music composition majors - if your thesis is a fixed-media piece that is not possible to score on paper, consult with the Music Graduate Office for instructions on submitting a zip file for the score component.  You will still need to submit the thesis front matter, so the zip file will include the media file and front matter.  More details are on the formatting guidelines page.

Step 2: Teacher Approval

Once the thesis is completed to the satisfaction of your teacher, prepare the signature page and have it signed by your teacher.

If you will be submitting a bound printed copy, print the signature page on the same paper as used for final submission and include the signed signature page where indicated in the formatting guidelines .

If submitting electronically, ask your major field teacher to email the Music Graduate Office with his approval of the final version of the thesis.

Step 3: Final Submission

Prepare the final copy and submit it as outlined below:

• Preparing and submitting the final copy

The thesis must be completed to the satisfaction of your teacher at least two weeks before the end of the term in which you wish to graduate.  Submission during the summer is possible, but only with approval of your thesis director.  

Master of Music in Music Scoring for Visual Media—Thesis

MM students in Music Scoring for Visual Media write original music for a film as a thesis.  Students should submit the Program Completion Application no later than the beginning of the semester in which they plan to graduate. ( Graduation information )

Once the thesis is completed to the satisfaction of your teacher, ask your major field teacher to email the Music Graduate Office with their approval of the final version of the thesis.

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Masters Thesis: SCORING FOR FILM AND VISUAL MEDIA // PRODUCING MUSIC; SETTING FOOT IN THE GLOBAL FILM INDUSTRY

This thesis addresses the issues of seeking out film scoring and music production collaborations, expanding one’s network and working with no or an extremely low budget. How can a new and young film composer and music producer find his or her way in and build lasting, global (international) relationships? Just one connection can get a career started, but how does one find that one connection. On a case-by-case study I will describe my process of finding a new project, communicating, setting a budget, spotting, composing, orchestration, instrumentation choices, recording, and I will compare my process to those of established composers. Furthermore, in my opinion, it is very important to look at our future, the possibilities, and how the music and film industries are constantly evolving. I will therefore examine the issues of piracy, new technologies, and differences between how audiences consumed their media in former times versus today.

Related Papers

Robert Ellis-Geiger

Within the context of contemporary Hollywood film music production; this thesis explores the use and application of technology for orchestral composition, orchestral music recording, through to the final delivery and integration of music on the dubbing stage. It also looks at the impact of technology on the entire post-production process and explores alternative ways for a more integrated filmmaking experience between director and composer. This empirical research was successfully applied to the production of two Hong Kong feature film scores for Election 2 (2006) and After This Our Exile (2006) and the production of the first Hong Kong film orchestral scoring session at Shaw Studios on the 22nd of February 2007.

Marcio Landi

Isabel da Rocha

University of Adelaide

Peter Handsworth

The project aims to create a definitive set of performances of Alfred Uhl’s 48 Etüden für Klarinette (1938), one that sheds new light on the nexus between the composer’s aesthetic and philosophical beliefs, and the ways in which the studies – both individually and collectively – impact directly on the performer’s technical command, analytical acumen and musical development. The study takes the form of a set of CD recordings of the 48 Etüden supplemented by additional works by Uhl that demonstrate the ways in which the etudes unlock the technical, interpretative and expressive potential of the performer. The recordings are supported by a 15,000 word exegesis that illuminates the research methodology undertaken, and its potential future applications.

Kenn McSperitt

Historically, the creation of new music has mirrored technological advances, leading to discoveries in the fundamental nature of sound, language, and music. Integrating these disciplines, this thesis proposes methods of orchestrating speech sounds for the conventional orchestra in an original composition entitled Perigee and Apogee. The methods developed in this thesis employ modern spectrogram analysis techniques, current speech research by leading scientists, sonic principles suggested by the harmonic series, and concatenative methods to produce human-like speech sounds using standard orchestration practices. New approaches to orchestration of consonants and noise sources are central to this process. The timbres, rhythms, and inflections of speech production are evident in this work. New concepts of melodic phrasing, tone color applications, pointillistic techniques, and sonic textures are introduced as a result of the methods discussed in this thesis. The inclusion of phonetics into standard orchestration offers a decidedly dynamic array of new compositional tools.

In the Baroque era, the violino piccolo was the highest and smallest member of the violin family. Claudio Monteverdi wrote for the instrument in his L’Orfeo (1607), and Michael Praetorius mentioned it in his Syntagma musicum (1619). Surviving piccolo violins include one by Girolamo Amati from 1613 and another by Antonio Stradivari from 1734. They demonstrate that while thebody of the instrument is essentially quarter-sized, its neck is as thick as a standard violin. The instrument became extinct by the nineteenth century; new playing techniques on the standard violin resulted in an extended range that precluded the need for the smaller instrument, thus eliminating the unique timbre of the piccolo violin. Surviving compositions suggests that the instrument was especially prevalent in the Leipzig orbit. The list of Thomaskantoren who wrote for it includes Sebastian Knüpfer, Johann Schelle, and Johann Sebastian Bach, as well as Bach’s successors Johann Gottlob Harrer and Johann Friedrich Doles. This dissertation includes annotated editions of cantatas by Knüpfer and Schelle as well as a concerto by Johann Pfeiffer, who studied in Leipzig and worked in Weimar as the Konzertmeister, a position Bach once held. The most well-known works for the instrument are Bach’s Brandenburg Concerto No. 1, BWV 1046, and Wachet auf, ruft uns die Stimme, BWV 140; he also employed the instrument in two additional cantatas. Bach’s works for the piccolo violin demonstrate that this aspect of his oeuvre is the culmination of a long tradition that his contemporaries also maintained.

Ronaldo Pereira

Carl-Henrik Buschmann

The music of science fiction. Why did it become to sound the way it does and how does the musical mechanisms work? How are space, the extraordinary, the fantastic and the outer-worldly depicted in western science fiction filmography? This thesis takes a historical and analytical perspective as it looks closer on the musical constructions we find in the music of the movies of Star Trek. Using conventional music analytical tools combined with neo-Riemannian theory (nRT) and transformational theory this thesis hopes to shed light on the inner workings in the music of Jerry Goldsmith, James Horner and Michael Giacchino in the iconic lms: ``Star Trek: The Motion Picture'', ``Star Trek: The Wrath of Khan'', ``Star Trek: First Contact'', ``Star Trek: Nemesis'', ``Star Trek'' and ``Star Trek: Into Darkness''.

Ethan Cayko

Network music performance is no longer in its infancy. In recent years, researchers have made strides toward a more seamless approach to distributed, multi-site, realtime music performances. However, interaction over vast distances comes at the cost of latency. Today’s fiber optic infrastructure transmits data close to the speed of light, but even at light speed, our acuteness to sounds in time makes synchronous planetary-scale music performance a physical impossibility. This research proposes a method that calibrates latency to a rhythmic unit of time, which allows for novel restructuring of pulse-based network music. The technique, called toporhythm, creates a rhythmic topology between performers that can be utilized to create distributed patterns. These patterns unfold differently in each performance space, resulting in a manifold music. This thesis presents historical context for the work, outlines the toporhythmic technique, describes the latency calibration software tool, and surveys a selection of music composed toporhythmically.

David Bennis

This paper is structured in five parts. After an introduction which outlines the research and its motivations, there follows some analytic background which positions the specific source work to be considered in the transcription project. Section three introduces in more detail the research methods used for the creative process, which is then executed and documented in section four. The new complete transcription score is presented in the final section of the paper. Abstract: This paper will present a new transcription for the classical guitar as the product of a documented creative process which is informed by experimental, mixed-mode approaches to transcription. The guiding philosophical tenets of the creative process, which here in this paper confronts a complex original work as its source material, embrace the transcription ideals of simplification in order to more readily facilitate performer accessibility to the final transcription object. Use is made of aural transcription methods in this simplification process at particular points of un-resolvable complexity in the source work's translation to the guitar. The transcription techniques used find resonance with the philosophical groundings of the avant-garde spectralist school of composition, which values the phenomenological or experiential elements of sound. Keywords: Transcription, Classical Guitar, La Vida Breve, Manuel de Falla, Phenomenology, Heuristics, Spectralism, Ethnomusicology, Flamenco.

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Home > THESES > 7904

Visual design system for music education for children

The purpose of this thesis is to develop a simple and understandable visual system to convey complicated concepts of musical composition for 1st grade music students. The abstract ideas of major scale, melody and harmony are redefined and expressed appropriately through visual communication. Thus, the visualization of musical sound in this thesis can contribute to the development of music education for children. The graphic design problem of this thesis is an exploration to express abstract and complex ideas through simple visual solutions. This thesis will propose a method of visualization to convert abstract ideas into graphic design solutions, and show how this method can amplify or diffuse abstract ideas.

Library of Congress Subject Headings

Music--Instruction and study--Juvenile; Visual learning--Research; Visual communication; Graphic arts

Publication Date

Spring 2006

Document Type

Student type, degree name.

Graphic Design (MFA)

Department, Program, or Center

School of Design (CIAS)

Bruce Ian Meader

Advisor/Committee Member

Peter Byrne

Michael Ruhling

Physical copy available from RIT's Wallace Library at MT1 .C46 2006

Recommended Citation

Choi, Sehwa, "Visual design system for music education for children" (2006). Thesis. Rochester Institute of Technology. Accessed from https://repository.rit.edu/theses/7904

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